The complete sequence · Venice 2026
MINORIA unfolds through autonomous but connected chapters. Together they form a pulsating field: from the first trace, through emergence and withdrawal, to the material memory of breath.
12 chapters · January—September 2026
A minimal gesture at the threshold, where space is cleared and meaning has not yet taken form. The first trace does not describe an object; it establishes the conditions in which something may begin to emerge.
Full record at A Space Gallery↗
The trace begins to move, entering recurrence, direction and the first dynamics of formation. The spiral is not a closed figure, but a movement through which form repeatedly approaches visibility.
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An accumulation of shells found on the Lido shifts MINORIA from construction to recognition. Form is encountered as already present: a deposit of matter, time and life that precedes authorship.
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The found trace is returned to the sea. Recognition becomes an act of release, and impermanence is accepted as an essential condition of artistic existence: what emerges may also dissolve.
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The image approaches concentration without becoming fixed. Gesture, material and internal tension accumulate on the surface, while a monumental scale places the viewer within a field of emergence.
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The image begins to appear only to withdraw again. Burnt, folded and subtly deformed sheets hold colour as potential, suspended between presence and disappearance.
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The image becomes an active structure rather than a passive surface. Perception, projection and self-recognition enter the work itself, which is completed anew in the viewer’s consciousness.
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The work appears as a system of definitions, procedures, error structures and symbolic equations. The protocol cannot capture the field; it exposes the limits of capture and reorganises the conditions of seeing.
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Seismos names the subtle disturbance that precedes stabilised form — the first tremor through which possibility begins to register in perception. Existing works enter a new conceptual field and become capable of becoming otherwise.
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Works previously presented in New York enter a new field. Structure appears not as a fixed order, but as a latent organisation of relations activated by context, position and perception.
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Earlier works return as accumulated traces rather than a retrospective. New Broken Masks intensify the condition: fractured glass initially conceals the image, which can reveal itself only through time.
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Glass becomes a material memory of breath, fire, movement and transformation. Suspended with paintings and a metal network, it holds the trace of forces that once acted upon it and the fragile continuity of material knowledge.
Full record at A Space Gallery↗